Peter Lindbergh shot an entire editorial without recourse to that particular computer program, except for minor color-correction. Kristen McMenamy, Tatjana Patitz, Nadja Auermann, Claudia Schiffer, et. al., also posed without any hair products or makeup.

And they predictably look fantastic. Does this spread in any way address the constant barrage of unrealistically altered images of women in the fashion media? Only obliquely, at best. And the skincare peg — all the models are shilling their supposed favorite spas and products — is a little annoying. I worry sometimes that these non-Photoshopped editorials are becoming more of a stunt than a corrective; French Elle had one, also shot by Lindbergh, and even Life & Style ran a Photoshop-free cover, of Kim Kardashian. How awesome would it be for a fashion magazine to state, as a matter of editorial policy, that excessive and unrealistic retouching will never find a home in its pages? That adjusting the white balance in post-production is fine, but that rhinoplasty-by-liquify-tool and 80 gazillion layers of changes are not? That would be a magazine worth buying.

Which is not to say that it isn't still wonderful to see images of real women at a variety of ages, images that haven't been "fixed" beyond recognition, even if these spreads are annoyingly presented as the fashion equivalent of Very Special Episodes. Shalom Harlow, pictured here, has always been one of my favorite models, and shots like this prove she of all people doesn't need post-production smoothing and sculpting to look bewitchingly beautiful.

Karl Lagerfeld shot this editorial, notionally inspired by Peggy Guggenheim, in Venice with Lara Stone and his latest boytoy, Baptiste Giabiconi. (Baptiste gets to wear boy clothes in this one, amazingly: Lagerfeld has a habit of styling his favorite hot young thing in women's wear and heels.)

Lara often looks kind of severe and disapproving — Cathy Horyn once compared her to Lurch — but the Gugg-inspired blonde clown hair in this spread sure isn't helping her.

These sunglasses, which if you look closely you can see are the shape of a bat spreading its wings, belonged to La Dogaressa (real, and awesome, nickname) herself.

It wouldn't be fall without some kind of a generalist "New Shapes" spread. This one, shot by Camilla Akrans, stars Kendra Spears and Katie Fogarty, who are aged 20 and 17, respectively, and accompanies text by Suzy Menkes. Representative quote: "THOUGHT FOR THE DAY: It could be time to go green. Rethink jade."

Of course, Madonna's bunny ears get a shot.

It also wouldn't be fall without a long, studio-shot editorial of a model — Karmen Pedaru — jumping dazedly.

There is, however, a beautifully shot Glen Luchford editorial, starring the spooky Eniko Mihalik.

And Siri Tollerod turns up with Richard Burbridge to do one of those perennial accessories editorials where the fashion magazines try and convince their readers that even when it's fall and the mind turns to tweed, we will still somehow feel like wearing acid brights and neon and "pops of color."

Oh, look: Our old friend Jean-Paul "I have jungle fever" Goude. Styling Naomi Campbell in leopard print, racing a cheetah across the serengeti, really is daring and original.

Naomi rides an elephant. Like a real African Queen.

She jumps rope. With monkeys. Monkeys.

We all know that black models have been lamentably absent from mainstream fashion magazines and runways. But all that shoots like these do is draw offensive similarities between black women and wild animals, and reiterate, in pictures, the old colonialist assumption that black people are savage and uncivilizable. Naomi Campbell isn't from Tanzania, she's from Streatham; at what point does having a British woman wander around the African wilderness, performing truly awful received ideas of how African women behave, for a publication with a majority white audience, verge on minstrelsy? Having no black models represented in magazines is a problem. But is this kind of representation actually worse than being totally ignored?

Then, Naomi perched on the back of a crocodile — this shoot was obviously not Photoshop-free — while wearing a Dior haute couture crocodile jacket and pants.

Interestingly, the Jean-Paul Goude shoot is followed in the magazine by a 14-page Peter Lindbergh editorial starring Chanel Iman and Arlenis Sosa. The theme? The Harlem Renaissance. This shot of Chanel was taken just outside the iconic Lenox Lounge, on Lenox just south of 125th Street.

Chanel and Arlenis, who are photographed carrying trumpet cases and singing into old-fashioned microphones, make pretty great foxy jazz musician dames. And while the Harlem Renaissance is kind of a cliché — and the period doesn't really have much discernible connection with life in the Harlem of today — it's nice to see a period with a black cast mined for interest in a fashion magazine, rather than just another all-white editorial about the Summer of Love or Studio 54.

Besides, the setting is the perfect way to set off the 1940s looks so many designers have turned out for this coming fall.

Can anyone identify this block? I want to say it's one of those gorgeous brownstone streets south of Marcus Garvey Park, but it also could be Strivers' Row. Either way, it's gorgeous.

The commitment to period realism does falter slightly in places: Sylvia's restaurant was founded in 1962.

And if you look really closely in the magazine, you can see the Fairway supermarket, just under the elevated rail line. In all, though, it's a beautiful shoot.

I don't think I even want to investigate the subtext of Harper's Bazaar using a milk-pale blonde British model as a stand-in for a black American pop megastar; let's just reiterate that this spread, which was obviously thrown together at the last minute, unfolds like an uninspired afterthought. And also the clothes suck.

Jessica Stam and Benjamin Alexander Huseby pop in for an editorial all about gardening, and fall tweeds of the sort that Little Edie would have loved.

Nobody does sublime eccentricity like Stam.

And Magdalena Frackowiak has an editorial all about shopping, photographed by Terry Richardson. Seeing her play a ditzy society lady with more credit than sense would be funny, if the photos weren't desperately captioned things like "SHOP: SAVE JOBS!"

In an accompanying article, by Derek Blasberg, about the macroeconomic imperative of increasing consumer spending, Margherita Missoni says: "It was cool to talk about the recession — which I found extremely annoying. But it seems not that people are no longer embarrassed to have good things." Thank god that recession thing is so over! God, that was such a drag!

I will leave you with images from Harper's Bazaar's Sesame Street-themed shoot, which features models Sessilee Lopez and Tao Okamoto. It's Sesame Street's 40th anniversary this year, so the magazine sent designers down to where the air is sweet.

This shot of Oscar de la Renta with Oscar the Grouch might actually top Harper's Bazaar's awesome The Simpsons fashion spread. Maybe.

• 42-year-old Kristen McMenamy, whose deeply unconventional beauty shone in many of the most memorable fashion photographs of the early '90s, was chosen by Steven Meisel for the new cover of Italian Vogue. [FWD]

• Yves Saint Laurent's Stefano Pilati, whose recent ads have starred Naomi Campbell, continues his run with the '90s supes in his Fall 2009 campaign. Christy Turlington, wearing pleated pants that do no women any favors, poses against a white background, inside a black picture frame that floats in space. [Telegraph]
• Speaking of Naomi Campbell, she'll be the face of Dennis Basso this fall. Basso is a well-known fur designer, and Campbell once famously declared that she'd rather go naked than wear fur, but obviously her naked avarice got in the way. [WWD]
• Madonna wore jet-beaded Givenchy couture on stage in London. Says designer Riccardo Tisci, "She's wearing an outfit that will make history." [People]
• The couture shows get underway in Paris today, and in this economy, selling $70,000 dresses seems like a difficult task. But at Christian Lacroix, whose house recently declared bankruptcy, there is an order backlog for more than 20 outfits. [WWD]
• That still might not save Lacroix. Employees were told Friday of a restructuring plan that would cut the 124-strong workforce to 12, and reduce the Lacroix label to a licensing operation. The only hope is for a buyer to step in. [WWD]
• Prodigious design talent — and rumored Madonna collaborator — Christian Audigier has some sharp words for Victoria Beckham and her celebrity dress line. "I like her, she is a nice girl, but she is not completely my style. I have seen some of her designs — they are very simple. It's difficult for an artist or a singer to enter into the world of fashion," quoth the popularizer of such classics as the trucker hat and the tattoo t-shirt. "You can't just rely on your name to help you sell. The way to sell and who to sell to and what you want to accomplish, these are all things you will need help with if you're entering into the world." [HindustanTimes]
• "I can't analyse my appeal. If I did I'd be in a straitjacket," reports supermodel Daria Werbowy. "I am very lucid in relation to the reality of this industry, the ephemeral nature of beauty and fame,' she says, 'and that gives me a certain distance and quite a bit of humour." [Telegraph]
• Stylist Patricia Field took the opportunity of an interview with the Mirror to settle an old disagreement with Kristin Davis. And with A-line skirts, which we always have found extremely flattering. "I hate the A-line skirt. It's like a lampshade. Ugly. Kristin Davis always wanted to wear A-line skirts as she thought it hid her big behind. She has a fabulous figure – she is completely hour glass, and I would say: ‘Kristin, you have a small waist – show off your round ass!' She would never show it. I wanted to make her into a Bettie Page in Sex And The City, but all she wanted were A-line skirts and Ralph Lauren clothes." [Mirror]
• Meanwhile, Roberto Cavalli has deep thoughts on our economy. "I never pay attention to costs — it's not attractive to speak about numbers. Why can't we just focus on the beauty of an object? I don't know anything about the financial crisis." [ToL]
• Times of London writer Shane Watson asks whether Abercrombie & Fitch's decision to tell an employee with a prosthetic arm to stay in the stockroom was really all that surprising, given the chain's refusal to hire anyone who isn't "regulation cute." Because discriminating against disabled people is exactly the same as dictating your employees hair length and nail polish colors! [ToL]
• Seeing the Wall Street Journal's perspectival dry-point etching of a man wearing skinny jeans totally makes up for this pedestrian story about how the trend caught on. [WSJ]
• Foot wear maestro Manolo Blahnik: "Are shoes so important? Really? If I was a woman, I would be dressed in the same thing for a month and just change my hat and gloves. Maybe my shoes too; yes, I see what you mean but, really, it's jewels that change an outfit. And I do love gloves. And I adddore hats. There are toooo many shoes now. I always tell the children, 'Don't do shoes! Do hats!' And the shoes are so strange, so vulgar. I hate these platforms that are all over the place today; they are all about grabbing attention. They are suburban! I never do a platform. Well, I did, in the 1970s, but that was a bad experience." [FT]
• Ben Westwood, Vivienne Westwood's fetish photographer son, whose latest exhibit featured bound models with the heads of celebrities' children inexpertly Photoshopped onto their bodies, is launching a men's wear line. London Fashion Week must be holding its breath. [Harper's Bazaar]
• Children's apparel is more resilient than other sectors of the clothing market during economic downturns. Why? Kids grow. [WWD]
• The Guardian reviewed R.J. Cutler's The September Issue, and called it "utterly riveting." The paper also said, of the relationship between stylist Grace Coddington and editor Anna Wintour, "to watch them do battle over whether or not to shoot a rubber dress is to see the great fashion battle of creativity versus commerciality acted out in an urbane New York office: a Punch and Judy show scripted by Woody Allen." [Guardian]
• If this is news to anyone here: online ads in the form of fake quizzes, à la Coach's new "Are you a Poppy girl?", are rigged. We are all Poppy girls, in the eyes of Reed Krakoff. Buy a $198 tote bag now! [TBM]
• Apparently, while New York has been drowning in a consistent downpour since mid-April, London has been having a heat wave. Unsurprisingly, sales of bikinis — and beer — have spiked. [FT]
• Because he is paid primarily in stock and options, Ralph Lauren's compensation slipped by more than 40% in value this year. He still made $20.3 million. [WWD]
• Despite cashflow concerns, Prada is still opening stores at a fast clip. Two new boutiques will open this month in Paris and Prague, and the company plans to keep up its 2008 pace, which saw 34 new stores open, for the next three years. [WWD]
• For those nights when you can't seem to remember your underwear, behold: the anti-paparazzi handbag! Activated by camera flashes, the bag emits a beam of light (clue: it's like a slave flash) powerful enough to ruin anyone's shot. [BoingBoing]